Newspaper Clippings Research Articles

Assessment of user adequacy and services of library collections among research scholars of university of Mysore

Present study reports empirical findings on the user adequacy and services of library collections among research scholars of university of Mysore. A total of 68 research scholars pursuing their Ph.D degree in various social and biological sciences were randomly selected of which 57 were male research scholars and 11 were female research scholars. A pre determined structured questionnaire on user adequacy and services of library collection was administered to the selected respondents. The data analysis was done using chi-square. Results revealed that in the case of library collections majority opined that only news papers and magazines are adequate. Reference books, text books, journals, thesis and dissertations were found to be moderately adequate as perceived by research scholars. Maps, atlases and charts, and electronic resources were found to be inadequate by the research scholars. In the case of library services, reference services, referral services, newspaper clippings, reprographic services and internet services were found to be good. Selective dissemination of information, current awareness service, indexing and abstracting services were found to be poor.

La Calle: Spatial Conflicts and Urban Renewal in a Southwest City (review)

Reviewed by: La Calle: Spatial Conflicts and Urban Renewal in a Southwest City Adam Schwartz La Calle: Spatial Conflicts and Urban Renewal in a Southwest City. The University of Arizona Press, 2010. By Lydia R. Otero. In his analysis across feature films that stray from casting professional actors, film theorist Siegfried Kracauer writes of the “documentary touch.” Citing international classics such as The Bicycle Thief and Los olvidados, he remarks: “In all of them the emphasis is on the world about us; their protagonists are not so much particular individuals as types representative of whole groups of people. These narratives serve to dramatize social conditions in general” (98). In short, our voices, livelihoods, and daily existence are validated through the stories film reveals: “When history is made in the streets, the streets tend to move onto the screen” (98). What happens when the streets—those where this history is made—literally disappear? To where do “real life” protagonists turn, off screen? By whom are their voices heard, and stories re-told? In the case of Lydia Otero’s La Calle: Spatial Conflicts and Urban Renewal in a Southwest City, those streets—and the cultural and historical value ascribed to them by generations of Mexican American (and most of the area’s Asian and African American) residents—were once found in downtown Tucson, Arizona. The Pueblo Center Redevelopment Project, approved in 1966 by the city’s predominantly white property-owning voting base that did not occupy or patronize the region, “targeted the most densely populated eighty acres in [the state]” (2). Within five years, city officials had successfully demolished adobe homes and bilingual community theatres, relocated churches and the remains of central plazas, paving over any dusty, Latino remains of a corazón tucsonsense with “modern” building materials. In an effort to appeal to local white, monolingual wealth and visitors that identified with such cultural comforts, Downtown Tucson had been repackaged in glass and concrete. A brand new cityscape accommodated new government offices, a conference facility, concert hall, a hotel, outdoor shopping mall and an imposing concrete pavilion known today as the Tucson Convention Center (TCC). By 1971, Governor Jack Williams welcomed over 7,000 to the Ice Capades, the first performance at TCC. With the homes of tucsonenses like Alva Torres and Guadalupe Castillo buried somewhere under his feet, Williams, flanked by red, white and blue décor, assured spectators that TCC “belong to ‘the people’ and that it represented ‘tomorrow’” (125). Although cinematic in scope, this very eerie turn of events may not turn into a Buñuellian-style feature anytime soon. However, this exciting volume from The University of Arizona Associate Professor of Mexican American Studies offers a needed “documentary touch” to broadcast her interviews with Torres, Castillo and the once vibrant La Calle. The latter translates literally to “street” in Spanish, yet pragmatically conveys much more: flexible spaces familiar with tucsonense families for generations that extended immediately outside of private domains within the downtown area and inclusive of the “city’s commercial heart” (28). Only pages into Otero’s book does it become sharply apparent that narratives from La Calle today symbolize an extermination of Tucson’s original bilingual cultural and social core, an event in the not-so-distant past that quickly went forgotten and for many remains unnoticed by the greater region’s monolingual, White inhabitants. And yet this research arrives at a time when the livelihoods and voices of tucsonenses and Arizonans are in danger of cultural extermination in new forms: Mexicano, bilingual and Chican@ agency and vitality risk institutional erasure through renewed Anti-English legislation, Anti-immigrant policing and fervor over ethnic studies curricula. Regardless of one’s personal, political or geographic connection to Tucson, I have for the past year insisted that La Calle be read across audiences. All readers, for one, are likely to catch themselves engrossed in a tale complemented by stunning collection of source materials—including photographs, maps, advertisements and newspaper clippings, often getting lost in their [End Page 223] detail for minutes each. As a scholastic piece, the book’s significance is incredibly wide reaching. La Calle introduces key conceptual frames that can be dissected and re-situated...

““To Sustain Illusion is All That is Necessary””: The Authenticity of Song Performance in Early American Sound Cinema

In musical shorts, song performances were rendered through a set of stylistic techniques emphasizing performative authenticity and synchronicity. By contrast, the integration of song performances into feature-length films of the same period led to the use of non-synchronous recording practices, such as voice-doubling, for dramatic actors who did not possess musical talent. Newspaper clippings in the Richard Barthelmess scrapbooks (Special Collections, Margaret Herrick Library) indicate that film audiences generally accepted voice-doubling as a necessary element of cinematic artifice.

VICTOR T. LE VINE

Victor T. Le Vine, professor emeritus of political science, analyst, and commentator, died on May 7, 2010, after a brief illness. Le Vine, an only son, was born in Berlin in 1928. His family fled Nazi Germany and lived in France until they immigrated to the United States in 1938. A polyglot, fluent in French, German, and Russian, he was a rigorous researcher, a dedicated teacher, and an encyclopedic repository of classical works in politics, history, literature, and music. He mentored hundreds of graduate and undergraduate students in his 47 years as an academic and was known for using his multilingual skills and photographic memory to make every class lecture come alive—at times accompanying them with his vivid newspaper clippings that he collected from his travels. In his classroom, the politics of the postcolonial world were peppered with vignettes of his experiences as a participant observer in the heyday of Africa's decolonization. He shared with his students the emergence of the political systems of diverse countries such as Benin, Cameroon, Cyprus, the Czech Republic, Eritrea, Ghana, France, Israel, the PRC, Rwanda, Saudi Arabia, Turkey, and Zaire (DRC).

From Congo: newspaper photographs, public images and personal memories

Objects, including photographs, offer a significant aid to memory and how people process past events. Family photography and family photograph albums can be important tools for preserving memories and creating shared family narratives. However, some important family events may not be represented in family photographs. In my family, for instance, some of the most significant events that took place are not recorded in traditional family albums, but through images that appeared in newspapers. My grandmother collected an archive of photographs of my family through newspaper clippings. The images document events that took place in the Democratic Republic of Congo during the postcolonial years immediately following independence. However, whether family photographs in a family album or newspaper photographs in a daily paper, images are cultural artefacts, censored and mediated by dominant social discourses. They will echo popular tropes and reflect the historical, cultural and political influences of the time. Drawing on insights from scholarship on family photography, cultural memory and trauma, this paper offers an analysis of the significance of the personal and the public use of photographs.

Independence or Not? Paul V. McNutt, Manuel L. Quezon, and the Re-examination of Philippine Independence, 1937–9

In 1934 the United States set the Philippines on a new course, one that was to begin with autonomy for the archipelago as a ‘commonwealth’ - not a colony - and end with the Islands gaining independ...

Alcohol policy in South Africa: a review of policy development processes between 1994 and 2009

Implementation of effective policies to reduce harmful alcohol consumption requires both a good understanding of the policy development process and which strategies are likely to work. To contribute to this understanding by reviewing four specific policy development initiatives that have taken place in South Africa between 1994 and 2009: restrictions on alcohol advertising and counter-advertising, regulation of retail sales of alcohol, alcohol taxation and controls on alcohol packaging. Material was drawn from a record of meetings and conferences held between 1994 and 2009 and a database of reports, newspaper clippings and policy documentation. When the policy process resulted in a concrete outcome there was always a clear recognition of the problem and policy alternatives, but success was more likely if there was an alignment of 'political' forces and/or when there was a determined bureaucracy. The impact of the other factors such as the media, community mobilization, non-governmental organizations (NGOs), the liquor industry and research are also discussed. Future avenues for policy research are identified, including the need for more systematic studies that give greater consideration to economic factors. Alcohol policy development in South Africa takes place in a piecemeal fashion and is the product of various competing influences. Having a comprehensive national alcohol strategy cutting across different sectors may be a better way for other developing countries to proceed.

The 1922 Einstein Film: Cinematic Innovation and Public Controversy

In 1922 Hanns Walter Kornblum produced a long and comprehensive educational film on Albert Einstein’s theory of relativity that made extensive use of trick shots. His film was considered to be a milestone in the history of film and also in the popularization of science. Although the original film has been lost, I have reconstructed its content and its reception by members of the German film industry and cultural sector, laymen, scientists and academics, and politically motivated opponents based upon the large collection of newspaper clippings that was assembled by the antirelativist physicist Ernst Gehrcke.

Information Extraction Approaches to Unconventional Data Sources for “Injury Surveillance System”: the Case of Newspapers Clippings

Injury Surveillance Systems based on traditional hospital records or clinical data have the advantage of being a well established, highly reliable source of information for making an active surveillance on specific injuries, like choking in children. However, they suffer the drawback of delays in making data available to the analysis, due to inefficiencies in data collection procedures. In this sense, the integration of clinical based registries with unconventional data sources like newspaper articles has the advantage of making the system more useful for early alerting. Usage of such sources is difficult since information is only available in the form of free natural-language documents rather than structured databases as required by traditional data mining techniques. Information Extraction (IE) addresses the problem of transforming a corpus of textual documents into a more structured database. In this paper, on a corpora of Italian newspapers articles related to choking in children due to ingestion/inhalation of foreign body we compared the performance of three IE algorithms- (a) a classical rule based system which requires a manual annotation of the rules; (ii) a rule based system which allows for the automatic building of rules; (b) a machine learning method based on Support Vector Machine. Although some useful indications are extracted from the newspaper clippings, this approach is at the time far from being routinely implemented for injury surveillance purposes.

Archives of the Black Atlantic: Postcolonial Citation in The Pagoda

Contemporary African diasporic literature often displays “the allure of the archive” when writers encode archival documents into their narratives, revising the remnants found in an archive, and foregrounding the elements of archival research and data in their texts. Against the well-theorized connection between the archive and the nation-state, diaspora novels require a transnational reading practice that encompasses multiple national archives. This critical practice opens the archive and exposes the nation-state's exclusionary investments in it. Diaspora literature thus unmoors the archive from its stubborn attachment to national narratives. Bound by the forms of the governments who sponsor their enunciation, archival documents are frequently legal depositions, statements of arrest, indenture, capture, and execution. What can these documents tell us about the subjectivity of those laboring in fields or battened under hatches making a middle passage toward indentureship? This essay focuses on one aspect of novelistic citation of a transnational archive, using Jamaican author Patricia Powell's 1998 novel, The Pagoda, as an example. I suggest that the novel's foregrounding of archival documents (letters, maps, ships' logs, newspaper clippings, etc.), loosens Powell's characters from the social identities to which they were bound. I offer a reading between novel and archive, focusing on a letter being written by Powell's protagonist, Lowe, and the letter's interaction with a history sometimes called “the coolie trade.” The critical reading practice that I argue diasporic literature demands leads us from the literature back toward recognition of the archive itself as transnational.

Erotic nihilism in late imperial Russia: the case of Mikhail Artsybashev's Sanin

Banned shortly after its publication in 1907, the Russian novel scandalized readers with the sexual exploits of its eponymous hero. Wreaking havoc on the fictional town he visits in Mikhail Artsybashev's story, the character Sanin left an even deeper imprint on the psyche of the real-life Russian public. Soon 'Saninism' became the buzzword for the perceived faults of the nation. Seen as promoting a wave of hedonistic, decadent behavior, the novel was suppressed for decades, leaving behind only the rumor of its supposedly epidemic effect on a vulnerable generation of youth. Who were the Saninists, and what was their 'teaching' all about? Delving into police reports, newspaper clippings, and amateur plays, Otto Boele finds that Russian youth were not at all swept away by the self-indulgent lifestyle of the novel's hero. In fact, Saninism was more smoke than fire - a figment of the public imagination triggered by anxieties about the revolution of 1905 and the twilight of the Russian empire. The reception of the novel, Boele shows, reflected much deeper worries caused by economic reforms, an increase in social mobility, and changing attitudes toward sexuality. Showing how literary criticism interacts with the age-old medium of rumor, Erotic Nihilism in Late Imperial Russia offers a meticulous analysis of the scandal's coverage in the provincial press and the reactions of young people who appealed to their peers to resist the novel's nihilistic message. By examining the complex dialogue between readers and writers, children and parents, this study provides fascinating insights into Russian culture on the eve of World War I.

Grabbing a Place on the Totem Pole: How Newspaperman H. Allen Smith Learned to Stop Worrying and Love the Book Business

Newspaperman H. Allen Smith delighted Americans in 1941 with his book Low Man on a Totem Pole, which was stuffed with bawdy, folksy observations of a cross-section of humanity, from celebrities to strip-tease artists to everyday oddballs. This article offers a glimpse of American humor between the world wars as it tracks Smith's evolution, both professionally and personally, from a newspaper reporter to a successful humorist and book author. It uses letters, newspapers clippings, and other written documents contained in Morris Library's Special Collections at Southern Illinois University Carbondale, as well as excerpts from Low Man, Smith's first successful book. This article also explores how Smith's relationship with H. L. Mencken, a luminary in the writing field and a long-time Smith idol, changed during this time period. Finally, it examines where Smith's writing fits in light of larger trends in between-war humor and how his work influenced modern humorists familiar to readers today.

Salon to Biennial—Exhibitions That Made Art History, Volume I: 1863–1959 (review)

Reviewed by: Salon to Biennial—Exhibitions That Made Art History, Volume I: 1863–1959 Kathryn M. Floyd Salon to Biennial—Exhibitions That Made Art History, Volume I: 1863–1959. Phaidon Editors and Bruce Altshuler. London: Phaidon Press, 2008. Pp. 410. $90.00 (cloth). When Kenneth W. Luckhurst concluded his 1951 volume The Story of Exhibitions with the optimistic line "of exhibitions, as of books, there will be no end" he could not have known that works such as his own, that is, books about exhibitions, would be rare despite the postwar cultural boom his statement predicted.1 Temporary displays of objects have arguably endured as the most important form for communication and commodification in "the art world" since the birth of their modern incarnation in the seventeenth century. Nevertheless, exhibitions, whose ephemeral natures make them difficult to historicize, receive far less theoretical and historical attention than their more permanent cousins, museums. This dearth of study is especially true in the sphere where they matter most—art history. Important historical considerations of specific exhibitions first appeared in the late 1960s. By the early 1990s histories of biennials, avant-garde events, salons, expositions, and Old Master shows by authors like Lawrence Alloway, Ian Dunlop, Elizabeth Gilmore Holt, Patricia Mainardi, and Francis Haskell were emerging from nineteenth-century studies, institutional critique, and a postmodern attention to the issue of art and commodity. In 1996 the important anthology Thinking about Exhibitions appeared, providing an initial body of literature and a solid theoretical framework for a new area of discussion.2 The book's articles outlined a constellation of issues surrounding exhibitions, including concepts of space, time, history, design, curatorship, cross-cultural translation, spectacle, and spectatorship. Despite these groundbreaking studies, a fundamental integration of the topic into standard art historical discourse was never fully established. Scholars often understand exhibitions to be the purview of curators and other practitioners. A more significant factor in their marginalization may be the fact that exhibitions exist not as static arrangements of objects within bounded spaces—as "objects" made of other objects, so to speak. Instead they consist of complicated, immaterial, and often dispersed elements such as personal and professional networks, financial limitations, political realities, institutional policies, social and sociological responses, and other elements that often escape the archive of [End Page 262] history. Behind the organized displays of artworks in any exhibition lies an untidy, and often unrecorded, web of forces that challenge art history's traditional focus on discrete objects created intentionally by individuals working alone. With his new book Salon to Biennial-Exhibitions That Made Art History, Bruce Altshuler intends to stimulate the rapidly growing interest in this complex practice. The first in a two-part set, Volume I covers the years 1863 to 1959 and provides basic information and primary materials associated with landmark exhibitions of contemporary art from Paris's "Salon des Refusés" to New York's "The New American Painting." The forthcoming Volume II will examine exhibitions from 1959 to the present. While creating a canon of significant shows, the editors have limited interpretative commentary in favor of offering a sourcebook of statistical data, images, and primary texts. Basic information including names of venues, organizers, and artists, numbers of works and attendees, as well as a rich assortment of excerpts from reviews, artist statements, and catalogues make up twenty-four chapters on twenty-four individual exhibitions. Most interesting are the hundreds of images the book provides, including not only photographs of the exhibitions, but reproductions of catalogue pages, posters, diagrams, newspaper clippings, and artworks. This wealth of information will no doubt evoke new considerations of these events and the artworks found within. There are some old favorites as well as new surprises among the archival materials contained in each chapter. Among the photographs that stand out are a handful of rarely seen photographs of the exteriors of important exhibitions venues such as Herwarth Walden's Galerie Der Sturm in Berlin, site of a 1912 exhibition of Italian Futurism, or the Galerie Beaux-Arts, the Paris venue of the 1938 International Exposition of Surrealism. These images remind us of the world outside, but also inherently connected to, the spaces and arrangements within. A telling...

Lost and Found: Making Claims on Archives

Lost and Found:Making Claims on Archives Eve Allegra Raimon This essay, like the contributions by Lois Brown and Jeanne Pfaelzer that were printed in the previous issue, was presented at "Women in the Archives: Using Archival Collections in Research and Teaching on U. S. Women," a symposium held at the Maine Women Writers Collection at the University of New England in Portland, Maine, 11–14 June 2009. We invite similar essays that reflect on the pleasures and challenges of archival research. The idea for this rather speculative essay came to me while I was in that uneasy interstice between two projects. I was completing the work of editing Harriet Wilson's New England: Race, Writing, and Region even as I was beginning the sort of writing project one undertakes only after attaining institutional security through promotion and tenure: I was combing through an old accordion file box full of class notes, essays, and newspaper clippings from my own mother's days as an English graduate student and instructor at Cornell before her premature death in 1959 when I was only two years old. My purpose in writing a personal essay about my mother's paper legacy was to see how much of her I could recover so many decades later.1 That effort led me to contemplate the theoretical—and now, for me, more urgent—issue of what is not in the archive, a very present absence. Here I was, involved in one project designed to publicize exciting new discoveries from public archives about the life of Harriet E. Wilson, even as I was coming to grips with the yawning lacunae this tiny private collection was revealing about someone who could not have been closer to me in a familial sense. This seemingly counterintuitive juxtaposition led me, finally, to ask questions about the necessarily incomplete nature of the recovery process as it concerns Wilson and the dangers of creating [End Page 257] a new narrative about her that delineates and may delimit a new subject we might afterward problematically regard as the definitive Harriet Wilson. Of still greater concern to me is that while this new subjectivity might fill in some important blanks, it could fail to mark emphatically enough the forces of her cultural and racial obliteration as a black writer in New England. The temptation toward reification or myth making that the very collection I was co-editing could help to foster was checked, that is, by the new understanding I gleaned from working with my mother's slim archive. The enormity of the difference between the two projects helped me to grasp more intensely than before the distinct and racialized issues at stake regarding these two subjects as well as the limitations and risks inherent in any attempt to reconstruct a life—whether of a public figure or not. To be sure, the recent disclosures about Wilson's life after her indenture that have appeared in Harriet Wilson's New England and elsewhere are ground-breaking, and this commentary should in no way be seen as diminishing their importance. Perhaps the most exciting recent find is Reginald H. Pitts's unearthing of actual bottles of various "hair products," including "Hair Dressing," "Hair Regenerator," and "Hair Restorer," embossed with the name "Mrs. H. E. Wilson" (Gardner, "Of Bottles and Books" 4). Pitts and P. Gabrielle Foreman have also traced Wilson's journey to Boston after publishing Our Nig and have documented her involvement in the popular spiritualist movement of the day. Banner of Light, a leading New England spiritualist paper, dubbed her "the earnest colored trance medium" (qtd. in Foreman, Introduction xliii). Additionally, they have uncovered Wilson's marriage in Boston to an apothecary eighteen years younger than herself, her death certificate from 1900, and the tombstone of "Hattie E. Wilson" in Quincy, Massachusetts. Equally significant, thanks to the textual recovery work of Eric Gardner, we now know that Wilson likely distributed Our Nig to white middle-class households as she peddled her hair tonic: one home at a time.2 At the same time, my purpose here, as I've suggested, is to raise questions about the limits of archival recovery that occurred to me as...

Ciência, políticas públicas e inclusão social: debates sobre células-tronco no Brasil e no Reino Unido

This article analyzes the main rhetorical approaches, themes, and strategies in the contemporary public debate on stem cell research and therapies in Brazil. Based on previous studies, analysis of the transcripts from public hearings, newspaper clippings, and 15 semi-structured interviews with researchers, public policymakers, and representatives of organized civil society, the article discusses divergences and convergences between the proponents and opponents of such research. The results are compared to trends in the United Kingdom, a leading country in the field, concluding that the main difference between the two countries lies in the form of social inclusion and public participation.

MORANDI, WITH AND WITHOUT WORDS

1 0 0 Y M O R A N D I , W I T H A N D W I T H O U T W O R D S B O N N I E C O S T E L L O ‘‘I am afraid of words, that is why I paint.’’ – Giorgio Morandi, in an interview ‘‘The painter’s products stand before us as though they were alive, but if you question them, they maintain the most majestic silence.’’ – Plato An unusual show at the Yale Art Gallery in early 2009, titled Picasso and the Allure of Language, left little doubt that the giant of modern art thrived in the impure mixture of word and image – exploring, exploding, and reinventing the genealogy of the sister arts. The muscular Picasso seems unfazed by those serpents of Gotthold Lessing’s Laokoon that would weaken the arts by entwining them. Picasso’s collaged newspaper clippings (‘‘le jou/la battaiille s’est engagé’’ with pasted guitar, score, and wallpaper) form just a corner of the story, which includes consorting with poets, exchanging visiting cards with Gertrude Stein, illustrating Balzac, reimagining Ovid, portraying Musketeers, and slumming 1 0 1 R with surrealists. For Picasso, Irving Babbit’s ‘‘confusion of the arts’’ was not a problem but an aesthetic strategy. Clearly, for him ‘‘the literary’’ was more seed than infectious germ. He even dropped painting altogether for a year, reenergizing himself by writing and illustrating his own poetry. Clement Greenberg, that latter-day Lessing, applauded cubism’s road to banishing ‘‘literary’’ allusion and illusion, making the arts ‘‘safe,’’ ‘‘each within its legitimate boundaries.’’ But for Picasso that road was anything but straight, and the word (as text, as sign, as story, as discourse) remained an apparently inexhaustible partner, a crucial element in his ‘‘laboratory ’’ of creative contamination. Giorgio Morandi, it would seem, was closer to anticipating Greenbergian purities, especially in his late career, as he simpli fied his images and treated them more as prompts than phenomena . Though overall his work is more naturalistic than much of Picasso’s, he has been understood almost entirely as a formalist, pursuing the tensions and ambiguities within the picture plane, emphasizing the plastic and abstract qualities of the work of art to the elimination of all pictorial, symbolic, narrative, or psychological interests, and certainly without recourse to semiotic play. It would be hard to imagine an artistic temperament that differed more from Picasso’s. Since the Morandi exhibit at the Metropolitan Museum of Art in New York closed just as the Picasso exhibit at Yale opened, the di√erences were on show for American visitors to discover. (Similarly, the Schoomers Gallery treated visitors to an exquisite selection of Morandi’s work in 2004, and recently a profile of Picasso’s ‘‘final decade’’ was on display at the nearby Gargossian Gallery.) The protean, virile, heterogeneous, loud forms of the stocky, audacious Spaniard (Gertrude Stein likened him to Napoleon) easily overshadow the serial, quietly modulating views and shifting still life arrangements of the humble and lanky bachelor from Bologna, whose work his student Janet Abramowitz has praised for its ‘‘art of silence.’’ What kind of verbal portrait would Gertrude Stein have made for Morandi, who found nothing more abstract than the visible world? Something like this: ‘‘He was one who was not saying he was saying; he was uncertainly one who was certainly unseeing some few uncertain things seen again unsaid.’’ But it is hard to imagine Morandi’s laconic figure among the loquacious guests in her salon. 1 0 2 C O S T E L L O Y One of the pleasures of Morandi’s work, for those who are patient enough to search out the subtleties of this understated art, is its ability to provide a world of emotional and intellectual variety that is apparently free of contingent reality or any psychological or political attachment. And yet, as those anti-Greenbergians like Tom Wolfe (The Painted Word) and Rosalind Krauss (The Optical Unconscious) have reminded us, the word is not so easily extricated from the image, and ‘‘vision alone’’ is a merely theoretical (hence, ironically, discursive) – and perhaps an undesirable – condition of art. Words...

Arquivo de Antropologia Física do Museu Nacional: fontes para a história da eugenia no Brasil

Apresenta um conjunto de fontes documentais que integram o Arquivo de Antropologia Física, de responsabilidade do Setor de Antropologia Biológica do Museu Nacional/UFRJ. O arquivo contém importante documentação sobre o Primeiro Congresso Brasileiro de Eugenia, realizado em 1929, no Rio de Janeiro, em comemoração ao centenário da Academia Nacional de Medicina. Além de originais dos trabalhos apresentados no evento - alguns inéditos -, constam também nesse arquivo documentos reunidos pela secretaria do Congresso, como convocações para a sua realização, ficha dos inscritos, correspondências, recortes de jornais e revistas com artigos sobre eugenia, bem como moções, relatórios e atas finais, constituindo acervo fundamental para a compreensão da história da eugenia no Brasil.

Come In and Hear the Truth: Jazz and Race on 52nd Street (review)

Reviewed by: Come In and Hear the Truth: Jazz and Race on 52nd Street Rick McRae Come In and Hear the Truth: Jazz and Race on 52nd Street. By Patrick Burke. Chicago: Chicago University Press, 2008. [xiii, 314 p. ISBN-13: 9780226080710. $35.] Illustrations, music examples, endnotes, index. In jazz lore, New York City’s 52nd Street ranks among the most storied centers of activity and popularity, rivaling other such legendary localities as Basin Street in New Orleans, New York’s Harlem and Greenwich Village, and Chicago’s South Side. For a roughly twenty-year period, the two blocks of 52nd Street between Fifth and Seventh avenues teemed with dozens of nightclubs, in which many of the finest jazz musicians appeared, several at the apex of their careers. Audiences of both races mingled in the clubs and on the streets—a social kaleidoscope of interaction, tension, cooperation, and hostility, with a balance of radical progressivism and unyielding traditionalism. This is the setting under which ethnomusicologist Patrick Burke frames his penetrating and highly readable study of the musical and sociological scene during 52nd Street’s heyday as a focal center for jazz musicians and enthusiasts. At first glance, this book may resemble other location-specific jazz histories such as Central Avenue Sounds, edited by Clora Bryant (Berkeley: University of California Press, 1998), about the heart of Los Angeles’s African American music scene, or the predecessor to this book, Arnold Shaw’s 52nd St: The Street of Jazz (New York: Da Capo Press, 1977), formerly titled The Street that Never Slept: New York’s Fabled 52d St. (New York: Coward, McCann & Geoghegan, 1971). Yet Burke’s approach moves beyond the scope of these chiefly oral histories, and departs as well from standard jazz histories that discuss linear evolution of styles. He also avoids more essentialist viewpoints of historians and critics who delineate racial elements in the music itself, or categorize playing styles as either in black or in white traditions. Rather, he incorporates the ideas of Radeno and [End Page 79] Bellmen’s ethnomusicological framework, as he “traces the ways in which its [i.e., jazz’s] musical culture both confirmed racial ideologies and alluded to new possibilities” (p. 5). Burke paints the 52nd Street jazz scene between 1930 and 1950 as a dynamic of varying musical and racial interaction, with simultaneous cooperation and tension, integration and exclusion, tolerance and prejudice, radical change and embracing of traditional ideologies. The nightclubs were the first in the country to feature racially integrated bands and, by the mid-1940s, black ownership and management of venues. Lest the reader assume, however, that 52nd Street represented the utopian ideal of peaceful coexistence between the races, Burke illuminates a high degree of harassment by police and audiences, stereotyping, exoticism, condescension, and amplification and distortion by the press. Despite the inherent difficulty in locating documentation about nightclubs due to their transitory and temporary nature (archives of bars are unheard of), Burke’s research is thorough and exhaustive. He has gleaned information from an abundance of newspaper and magazine clippings; transcriptions of previous oral histories; his own interviews with club owners, audiences, critics and musicians; and heretofore unpublished writings. He unearths recordings from the era, several of them rare or unreleased studio takes. The endnotes are thorough and frequently lengthy, although the omission of a systematized bibliography is a slight inconvenience for scholars. The ascendancy of 52nd Street runs parallel to the growth of Midtown Manhattan as the key cultural and economic center of New York City. Depression-era fun seekers with a sense of transgression took refuge in the dozens of speakeasies that provided bootlegged liquor. Although descriptions of activity within speakeasies understandably lack written primary source information, there is plenty of testimony that much music and dancing took place within them, and many prominent musicians were frequent customers, relaxing and presumably jamming in these illegal watering holes after legitimate engagements. After the repeal of Prohibition, one of the few locations that remained in operation was the Onyx Club, a white-owned establishment where predominantly white musicians continued to congregate. Here they held regular jam sessions, fostering a semi-exclusive club in which camaraderie and musical experimentation took...

Burying the Dead but not the Past: Ladies' Memorial Associations & the Lost Cause (review)

J U L Y 2 0 0 9 227 Integration of the football team in the early 1970s happened so seamlessly that readers might forget that this was George Wallace’s Alabama. Yet African American players such as Heisman winner Bo Jackson opened a new era of Auburn gridiron heroes. Only one receives bad press from Hemphill: Eric Ramsey, a fifth-year cornerback, who had the audacity to record Coach Pat Dye’s illegal offers (leading to Dye’s resignation). That said, A Tiger Walk Through History is well worth the price and not just because of Hemphill’s narrative. The volume is a quality product, evident from the heavy glossy pages to the numerous illustrations. Readers will delight in the many photos, images of game programs, newspaper clippings, sidebar pages devoted to memories of former students and staff, and appendixes, all designed to advance and illuminate the narrative . A lot of effort went into this volume; it deserves a place on library shelves as well as on coffee tables. JOHN SAYLE WATTERSON James Madison University Burying the Dead but not the Past: Ladies’ Memorial Associations & the Lost Cause. By Caroline E. Janney. Chapel Hill: University of North Carolina Press, 2008. xiii, 290 pp. $35.00. ISBN 978-0-8078-3176-2. The scholarship on the Confederate Lost Cause has grown considerably in the last few decades, incorporating the actions of both men and women who celebrated the failed Confederacy. Many of the scholars in this field, however, have looked to the United Daughters of the Confederacy (UDC), a national organization created in 1894, in order to explain women’s participation in the Lost Cause. For Caroline Janney, this focus is misplaced. In her book Burying the Dead but not the Past, Janney intends to set the record straight about the creation of the South’s postwar culture by focusing on the women of the Ladies’ Memorial Associations (LMAs). She argues convincingly that these women provided the very foundation for Confederate memorial efforts during the Civil War and then continued to shape Confederate memory throughout the rest of the nineteenth century and even into the twentieth century, the years when the UDC came to prominence. In essence, the women of the LMAs gave birth to the Confederate Lost Cause and nurtured the movement even in the midst of challenges from within. Janney’s discoveries have important ramifications for how we understand not only the creation and development of the Lost Cause, but also T H E A L A B A M A R E V I E W 228 the behavior of southern white women in the postwar period. The white middle- and upper-class women in this study shifted easily from their work in soldiers’ aid societies to taking care of those who had died in battle. Their tasks went beyond the decoration of tombstones and the organization of memorial parades to include the rescue and reinterment of thousands of bodies in proper burial grounds, the construction of monuments to the Confederacy, the financial support of veterans and their families, and, in later years, the education of the next generation of southerners about the Confederate past. In her analysis of their behavior , Janney claims that the actions of LMA women as mourners were political and that because they were women, LMA members were effective in stoking Confederate nationalism even at the height of radical Reconstruction. Whereas white southern men were under the watchful eye of northern Reconstruction officials, women could surreptitiously keep the pro-Confederate spirit alive well after the Confederacy had ceased to exist, and do so with the full support of their chastened men. But once political circumstances allowed men to participate on their own in Confederate memorial efforts, the women of the LMAs did not change their behavior. Instead of yielding their leadership roles to men, as had been customary for southern women before the war and as some historians have claimed took place in the postwar years, these women held on, with motherly tenacity, to their control of the movement and rebuffed efforts by Confederate veterans’ groups to push them aside. In her research, Janney uses the rich records of seven LMAs from...

Headlines Make Fashion: The Use of Newsprint Fabric and Newspaper Clippings in Fashion and Fancy Dress

This article explores the use of newspaper-printed fabric in nineteenth- and twentieth-century fancy dress costumes, as well as its employment by fashion designers such as Elsa Schiaparelli and John Galliano. It examines the use of authentic newspaper clippings and paper applied to fancy dress and fashion, and discusses Viktor and Rolf's innovative method of using real newspaper within their conceptual framework.